Stevie Nicks Album

[Greg_phpbb3_import1]

I'm posting this because I vaguely remember somebody in Doom having a huge crush on Ms. Nicks, going so far as to date women who vaguely resembled her. I'm guessing he is going to buy all the copies.

At the upcoming nuptials, make sure you ask Lyndell Wolff about his first hand Fleetwood Mac experience and why he would rather plunge a pencil into his ear than hear them again.

http://stevienicks.warnerreprise.com/InY... Pre-Order

[Greg_phpbb3_import1]

Being a sucker for music docs, I will probably watch this at a point where I don't have to pay for it.

[youtube]vtr7htB16Xc[/youtube]

[Drunk Monk]

That might not explain why there's still a Stevie poster in my bedroom (now storage room where I occasionally crash) at my folk's house, but that's my story and I'm sticking to it.

I think this doc was listed on Hulu+ or iTunes or something. Stacy pointed it out to me. I'll check it out, just for old time's sake. Including Dave Stewart might be cool.

Hope she tours again. Last time was 2011, which I only remember because it is documented here on DOOM <!-- l --><a class="postlink-local" href="http://brotherhoodofdoom.com/phpBB3/viewtopic.php?f=7&t=2270">viewtopic.php?f=7&t=2270</a><!-- l -->. Good thing too, because my memory for such details is pretty much shot.

[Greg_phpbb3_import1]

It's coming. Now with more Christine McVie. I would have thought DM would be all over that.

[Drunk Monk]

I still haven't watched that doc. It's in my netflix queue.

I've never seen the entire band reunited. I've seen Fleetwood Mac a few times, but either Christine or Lindsey was missing.

[Greg_phpbb3_import1]

Ha! I've seen the entire line-up. I saw them at the US festival. They were awesome. Lindsay spent a lot of time bitching at how people maligned the Tusk album. As in here is another great song from the album nobody likes.

[thatguy]

Lindsay spent a lot of time bitching at how people maligned the Tusk album. As in here is another great song from the album nobody likes.

In 1987 (or in 2002 when they first regrouped, depending which story your read), Camper van Beethoven attempted to cover the entire Tusk album:

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The last thing we hear is one of the band murmuring "ah, that was a bad idea"...

In the late 70s Fleetwood Mac's Rumours was one of those albums that was impossible to avoid, and was proof that having messy relationships with other members of your band and writing catchy songs about them could make you very popular. Its follow up, Tusk, was a different story; a critical and relatively commercial flop (though yielding a couple of hits), its four sides were dominated by guitarist Lindsey Buckingham's increasingly eccentric musical vision. Often miles away from the lush West Coast sheen of its predecessor, it's an album that doesn't even merit cult status; neither has it been reasessed and hailed a lost masterpiece. Well, not yet anyway.

Which makes it all the more strange that the (admittedly slightly eccentric) Camper Van Beethoven should have chosen to cover the entire album. Recorded in 1987 and conceived on a whim, the project was a source of irritation to the band themselves. After a few days, some members realised it was quite a silly idea perhaps left as such, and the project collapsed. Half finished, some tracks remained as sketches, others recorded later by individual band members.

So a decade and a half later, here are those tapes, cleaned up and reassembled. While you couldn't call this a labour of love, neither is it a demolition job. While some tracks (particularly the Stevie Nicks and Christine McVie tunes) are often cruel deconstructions, there's a sense that the Beethovens warmed to some of their material. For the most part, the original is reconfigured to fit the band's gift for skewed, country and western tinged psychedelia. Sometimes this works beautifully, as on "Save Me A Place", "That's All For Everyone" and "Tusk" (which is actually a bit straighter than the original).

It's also extremely funny, as when the vocal for "Sisters of the Moon" is provided by a Mac of the Apple rather than Fleetwood variety, which at the end of the song starts quoting Shakespeare and Spinal Tap. Or there's the insertion of a few lines from the B-52's "Rock Lobster" into "Not That Funny".

The last thing we hear is one of the band murmuring "ah, that was a bad idea". Not so, chaps...

[youtube]5rY6JWRDn1Q[/youtube]

--tg

[Drunk Monk]

We're out three benjamins and have to wait until the end of November. Hopefully the band will all make it.

Greg, are you sure you want to get in a 'bands we've seen' battle with me? Because I'll crush you like Grandmaster Yeti would if it were foils.

tg, well played, sir. The CvB version was unknown to me until now.

[Greg_phpbb3_import1]

Just amused that the man who sees hundreds of bands a year has never seen one of his favorite bands with their entire line up. Granted, they are highly dysfunctional but still even after all these years you would think you would have seen the entire classic line-up together once.

Even Lyndell has heard the entire band for weeks on end, almost drove him mad. It's a sore subject.

[Drunk Monk]

I was in India for the last reunion tour that I could have attended. S reminded me of that because I totally forgot.

T learned of FM from Glee. Of course, I've tuned her into the real thing. She just asked me if she could borrow all my FM CDs to upload to her MacBook.

[Drunk Monk]

[youtube]-Ib86ZmUBOY[/youtube]

[Greg_phpbb3_import1]

There was a big article in today's LA Times about McVie getting back with the band and how she is writing songs for the new FM album. No album until after the tour which starts in San Jose.

Christine McVie eases comfortably into the corner of a leather sofa, about a foot between her and Lindsey Buckingham. He leans forward and side by side, they listen to the playback of "Too Far Gone," a danceable new Fleetwood Mac song they've written together over the last few weeks at a West Los Angeles recording studio.

"This was a great collaboration," Buckingham said. "I had a track without any singing on it, and she wrote the song over it."

"We've been doing that quite a bit lately, haven't we?" McVie said.

Helping McVie write songs, Buckingham said to her, "is something you always wanted me to do for you, which was not necessarily the case with Stevie. She's a little more complicated in her needs."

It's a scene that would have been pure rock 'n' roll fantasy barely two years ago.

At that point, McVie was securely ensconced in her 17th century mansion in rural northern England, having retired from touring and recording with a band she'd been part of for a quarter century. Crippled by a fear of flying that made the idea of a trip to Los Angeles — or anywhere else — unthinkable, the '70s rock goddess stopped touring in 1998 and spent much of her time cooking and gardening.

But last week, the woman who wrote and sang many of the group's cornerstone songs, including "Don't Stop," "You Make Loving Fun," and "Little Lies," traded banter cheerfully with Buckingham, who expressed sheer delight at resuming the creative relationship they'd once enjoyed, both saying they've not only picked up where they left off, but agreeing that "it's better than ever."

In fact, it's the same studio they built 35 years ago when the British-American band was starting work on one of the most ambitious projects of the group's storied career, the two-disc "Tusk" album, which followed blockbuster "Rumours," one of the 10 bestselling albums of all time.

After a smiling McVie flashes double thumbs-up to engineer Mark Needham, Mick Fleetwood squeezes his unmistakable 6-foot-5 inch frame through the control room door and starts munching a forkful of salad out of a green plastic container. He grabs a digital camera off a coffee table and points it at his bandmates. McVie obliges him by twisting her mouth into a goofy grimace as he snaps the shot.

"There was some worry about whether it was a good idea to come back here," said Fleetwood, 66. "Maybe it would be better to go someplace new, someplace we hadn't worked before. But since we started working here, it couldn't be more fantastic."

F. Scott Fitzgerald's observation that "there are no second acts in American lives" notwithstanding, it appears that the Grammy-winning quintet is positioning itself for precisely that.

Of the band's five members, only Stevie Nicks isn't on the premises, busy attending to other commitments, they say. While Christine McVie and Buckingham signed off on the latest tweaks to "Too Far Gone," John McVie and Fleetwood worked on other facets of the new material.

McVie's return to the fold for an upcoming full-band reunion tour, announced in January, was surprise enough to music fans who'd been assured for a decade and a half that McVie had checked out of Fleetwood Mac and wasn't coming back. But things began to change a couple of years ago, when she began to reassess her decision.

She continued to write in her self-imposed retirement, and put out an appealing solo album in 2004, "In the Meantime." It was that project that helped plant the seed for her eventual return.

"It had some good songs on it, but I went about it all wrong, " said McVie, 70, still looking the part of the quintessential rock 'n' roll singer and songwriter in her brown leather jacket, over a white tank top and tight black jeans. "I did it the wrong way, with the wrong people, I didn't want to fly, I didn't want to promote it. I just did it in my garage and nothing happened with it. That caused a certain amount of angst, and then I just stopped."

Then a couple of years ago, she sought out a therapist to help her with the fear of flying. "He asked me, 'If you were to go anywhere in the world, where would you want to go?' I thought about it for a little bit, and I said 'Hawaii.'

"He said, 'Buy your ticket.' Then he said, 'You don't have to use it. Just buy it'," she said. Buckingham laughs at her revelation, saying, "I didn't know that part."

After a period of being gradually desensitized to the idea of flying, she said Fleetwood drove to her home to meet her, and together they got on a plane to Maui. There she joined him and her ex-husband, John McVie, at a performance by their blues band.

"I did a couple of songs there, it felt good onstage, and then I thought, I'm really missing out on something—something that's mine, that I've just given up, and I'm not paying respect to my own gift," she said. "I saw that if I want to start to play again, there's only one band I want to play with, and that's Fleetwood Mac."

That led to her first appearance in 15 years with Buckingham, Nicks, McVie and Fleetwood when the 80% edition of the group performed at the O2 Arena in London last year, a one-night reunion that set the stage for her return to the band.

That would have been reason enough for Fleetwood Mac fans to celebrate, but as McVie put it, her return wasn't simply for the full-group reunion tour now scheduled to start in the fall.

"I committed to join the band hook, line and sinker — recording, everything," she said.

Having overcome her flying fears, a new sense of liberation is manifesting in McVie through an outpouring of songwriting, much of it with Buckingham. Over the last eight weeks, Buckingham said they've written and recorded eight new songs, which will help populate a new Fleetwood Mac album along with seven or eight more the band recorded about 18 months ago while gearing up for a 2013 tour.

Another McVie-Buckingham collaboration they previewed, "How I Feel," is a buoyant number with all the markings of a hit.

"There's a lot of pop in what we've been doing," Buckingham, 64, says with a giddy smile, his signature shock of kinky hair still shooting skyward even as it has morphed over the years from dark brown to salt-and-pepper shades.

Following this round of recording, the album will be shelved while they gear up for the new tour, which opens Sept. 30 in Minneapolis and includes three nights at the Forum in Inglewood.

"I think we both came in with a certain level of ... not anxiety, but acknowledging that there were certain unknowns as to how this was going to go, or where it was going to go, or whether it would only get so far and then hit the wall," Buckingham said. "It's almost like the whole being greater than the sum of the parts, which was always a way to describe Fleetwood Mac.

"When someone takes such a long hiatus, you don't know if that was a moment in time; if that [working relationship] is still there," he said. "You know the potential is still there, but are the tools for getting in touch with it still there? But actually, it's better than ever, wouldn't you say?"

"Absolutely," McVie said instantaneously. "You've heard what the tour is called?" she asks, as if to underscore the theme of rejuvenation for the new chapter in the continuing story that is Fleetwood Mac. "On With the Show," she said, answering her own question.

Working together again, Buckingham said, "has been a really profound couple of months. I can't think of anything better for the next act for this band."

[thatguy]

Songs from the Vault coming, but here's some '70s selfies for your enjoyment:

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Beginning in the mid-seventies, Stevie Nicks took a series of Polaroid self-portraits in her home as well as hotel rooms around the world while on tour. Earlier this year, during the recording of her new solo album 24 Karat Gold - Songs From the Vault, she decided to share these never-before-seen self portraits. Each one of these archival pigment prints is hand-signed and numbered by Stevie Nicks.

"Some people don't sleep at night - I am one of those people. These pictures were taken long after everyone had gone to bed - I would begin after midnight and go until 4 or 5 in the morning. I stopped at sunrise - like a vampire... I never really thought anyone would ever see these pictures, they went into shoeboxes, where they remained. I did everything - I was the stylist, the makeup artist, the furniture mover, the lighting director. It was my joy - I was the model..."

- Stevie Nicks

--tg

[Drunk Monk]

a lot of reviews have been positive, but it did nothing for me. given her history, i thought it was going to be more like Steppenwolf's The Pusher.

:?

[youtube]BkMmlHNvlR8[/youtube]

[Drunk Monk]

I got about half way through the doc last night. That was after starting and bailing on several other Netflix possibilities, and also catching up on Revenge (I totally called this week's twists). Not sure if I'll finish it.

I was amused mostly because the bulk of it is shot in Stevie's home, which is pretty much how I imagined it. Stevie and Stewart fawn over each other way too much. Stevie is way into Stewart's guitarmanship, which is mediocre at best really. Waddy is there, with Stevie's back up, and Mick makes an appearance along with someone from the Heartbreakers. Stevie holds court a lot. It's kind of like a huge 'making of' for each of the new videos, none of which are on VEVO via AppleTV. There's some nice young Stevie pix, and some vintage footage including an argument between Lindsay and Stevie about keeping the lyrics in the same person - Stevie claims victory because she sez Lindsay wouldn't change Dylan's lyrics. She compares herself to Dylan way too much. Stewart makes the comparison of living with Annie to Stevie and Lindsay, and I couldn't help but think, dang, what would have a collab between Lindsay and Annie have been like.

The amusing thing about Stevie's home is that she has a totally sweet jacuzzi and after living there for four years, she's never gone in it. That's cuz she's waiting for me to come over. Yeah, right. IN YOUR DREAMS!